AP Art History Early Renaissance Art Outside of Italy

	Introduction - Early Renaissance art in northern Europe remained essentially Gothic primarily due to the fact that the artists of the north were not surrounded by classical antiquity. In the north, the International Style of the late 14th century will give way to powerful realism.
	Northern painters evolved from manuscript illuminators The social hierarchy remained unchanged with nobles and clergy dominating a rapidly growing middle class. Some artists experimented with oils and glazes that allowed for the creation of richer colors.
	CHARACTERISTICS OF NORTHERN PAINTING Deep, intense tonality Newer colors that seemed to glow from within hard, enamel-like surfaces Hard edged, sparkling clarity of detail-artists were intent on rendering the appearance rather than the structure behind the appearance
	French Courtly Style PAINTING - The French love for personal and intimate works had set the tone for the International Gothic style. The openness of Gothic architecture provided few continuous wall spaces for frescos. French artists of the 15th century had a long tradition of using deep colors, worked into tiny intricate patterns. CHARACTERISTICS - typically 15th century paintings were of charming subjects, in graceful poses and sweet facial expressions. The artists showed a concern for naturalistic detail. They also used bright, pastel colors with touches of gold. Pucelle, Jean-David Before Saul, page from the Belleville Breviary, c1325 (see second picture above) Limbourg Brothers-Tres Riches Heures, 1413-16 (Click to see all 12 months!) Broederlam, Melchior-Annunciation and Visitation/Presentation and Flight into Egypt, Chartreuse de Champmol, 1394-99.
	Flemish Art The people of Flanders (modern day Belgium) enjoyed great wealth and prestige due to an extensive wool trade and banking. The financial center of Bruges was also the political capital for the Duke of Burgundy. PAINTING - The roots of Flemish painting can be traced to full page manuscript illuminations created at the end of the 14th century. There were three leading Flemish painters: Robert Campin, Jan van Eyck, and Rogier van der Weyden. These three artists, along with a group of second generation panel painters, such as Petrus Christus, Hans Van der Goes, attracted many followers Campin, Robert (Master of Flemalle), Virgin and Child Before a Firescreen, c1428 Campin, Robert (Master of Flemalle), Merode Altarpiece, c1425-28 van eyck, Jan, Ghent Altarpiece, 1432 van eyck, Jan, Arnolfini Wedding,  1434 van der Weyden, Rogier, Escorial Deposition,  c1435 van der Weyden, Portrait of a Lady, c1460 Van der Goes, Hans, Portinari Altarpiece, c1474-76
	Differences between Early Renaissance Art in NORTHERN EUROPE & ITALY NORTHERN EUROPE ITALIAN Media 1. Painting - (binder = linseed oil) 1. Painting - tempera (binder = egg) 2. Sculpture - mostly wood carving 2. Sculpture - mostly bronze & marble 3. Architecture - skeletal structure, (continuation of Gothic) 3. Architecture - wall-bearing structure,   (walls articulated with Classical motifs) Subject Matter, (iconography) 1. Continued emphasis on Biblical subjects. 1. Continued emphasis on Biblical subjects. 2. Introduction of genre and the macabre subjects. 2. Introduction of Greco-Roman, mythological references. 3. Emphasis on minute detail and landscape painting. 3. Emphasis on the human anatomy. 4. Individualized portraiture. 4. Idealized portraiture. 5. Symbolic meaning. 5. Allegorical meaning. Composition 1. Asymmetrical Placement    (ie. use of dynamic symmetry). 1. Strict Symmetrical Placement. 2. "Resolved," diagonal, compositional lines. 2, Predominance of Vertical and Horizontal compositional lines. 3. Ambiguous Perspective (particularly in Flanders). 3. Unified Perspective. *(Note - developed by Filippo Brunelleschi). 4. Introduction of Atmospheric Perspective. 4. Introduction of Linear Perspective. Expression 1. Dynamic Tension. 1. Continuity of expression. 2. Non-directed facial gazes. 2. Communicative facial gazes, (ie. direct eye-contact).